Broadway
Leading Man
1898-1903
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In
the late 1890’s the American theatre began to
centralize. New York became the unchallenged
theatrical capital of the country, with a population
large enough to support unprecedented long runs.
Financial control passed from actor/managers and
directors to businessmen, who consolidated the
nation’s playhouses. Star actors who wished to
appear in major theatres had to sign exclusively
with this "Syndicate," as it was eventually called.
Successful new plays were held in tight control and
performed regionally only in chain owned venues.
This sounded the death knell for the grand old
"stock companies." John Ellsler’s company in
Cleveland went under. The Boston Museum closed after
fifty years. And in New York, Daly’s company
disbanded. What took its place came to be known as
"Broadway" theatre.
Some stars resisted, Maurice
Barrymore raged publicly against this centralization
and descended into madness. Minnie Maddern Fiske
continued her career as an independent
actor/manager. But despite her position as America’s
most popular actress, she was never allowed to
appear in first class playhouses. Audiences would
flock to see their beloved Mrs. Fiske in converted
skating rinks and town halls. Her husband, Harrison
Grey Fiske published the New York Dramatic Mirror as
a weekly theatrical magazine, and as an organ of
protest against this take-over of an art form by
business interests.
Joseph Haworth had no such
conflicts. Future Syndicate czar Charles Frohman had
produced Sue, during which he and Joe enjoyed
a cordial and mutually beneficial relationship.
Indeed, Joe’s career flourished in the new
commercial, "Broadway" environment.
In November 1898, still exhausted
from the Park Theatre season, Joe took over the
title role in Hall Caine’s The Christian at
the Garden Theatre in New York City. The play was an
established success that eventually transferred to
the Knickerbocker Theatre for a total run of 160
performances. Joe played the complex and conflicted
hero John Storm, a man born into nobility and raised
as a moral relativist. The plot had Storm become an
idealistic young clergyman in central London. The
conflict was played out between Storm and the
greedy, godless property owners’ desire to demolish
his church in order to enlarge their music hall.
Receiving star billing was Viola Allen, Joe’s
co-star from the McCullough years. As Glory Quayle,
Miss Allen brilliantly walked a fine line between
innocence and decadence.
Joe’s performance as John Storm
was a sensation. He aroused audiences with the role
in a way that his predecessor, Edward J. Morgan,
never did. The publicity mill ground furiously
during this time. Joe received awards from various
religious organizations, and added to his costume an
antique silver cross that had been worn by Pope Pius
IX, a gift from a local New York priest. There also
was considerable newspaper coverage when he abruptly
left the play in February 1899, citing exhaustion
from overwork. Three weeks later, he again made the
front pages when The Windsor Hotel burned on March
17, 1899. Joe had stayed there that winter during
the run of The Christian and was in the hotel
shortly before the devastating fire started. News
reports went out that he had perished. When he
turned up safe and sound in Atlantic City, his
family, friends and admirers drew a collective sigh
of relief.
Joe then signed with producer
Jacob Litt. Beginning with the ownership of
Milwaukee’s Bijou Theatre, Litt had build a
theatrical empire in the Midwest. He acquired and
managed other theatres, and produced touring
productions of The Sporting Life, In Old
Kentucky, East Lynne, and Bronson
Howard’s Shenandoah. Litt wanted to establish
himself as a major New York producer, and in May of
1899 he used an elaborate revival of Shenandoah
as his vehicle. Joe was cast in the leading role of
Kerchival West, a part created by Maurice Barrymore
ten years earlier. Litt’s New York assistant was
young Milwaukeean William Wood, who wrote home to
his family in April 1899: "New York is beginning to
look like a real battleground. The Shenandoah
pictures are all over the place. The show will open
on May 1st with Joseph Haworth in the
leading role. He was the leading man in The
Christian and is a splendid actor and an immense
favorite down here."
The production was huge. It played
the Broadway Theatre, and the May 2, 1899 New York
Times stated: "The view of the vast expanse of the
Shenandoah valley was exceedingly effective, while
the incidents of the battle of Cedar Creek, the
advance of the Union troops, and their retreat, with
their artillery under a galling fire, and the
reawakening of courage with the arrival of Sheridan,
were presented with much elaboration of pictorial
detail. Many horses and many men were employed, and
a large quantity of gun powder was burned." Joe’s
work was well reviewed, although the New York
Dramatic Mirror noted: "Joseph Haworth in the role
of Colonel Kerchival West was virile and effective
at all times, and gave a notably fine performance,
though the role did not give full scope to his
ability."
Joe was the cover boy for the May
13th issue of the New York Dramatic
Mirror, with this accompanying text: "Joseph
Haworth, whose latest portrait is reproduced upon
the first page of this issue of THE MIRROR, has just
scored another notable triumph by his superb
performance as Colonel Kerchival West in Jacob
Litt’s revival of Shenandoah at the Broadway
Theatre. Following close upon his notable work as
John Storm in The Christian, Mr. Haworth has
accomplished the uncommonly difficult task of
following other admirable players in two especially
difficult roles, both in New York in a single
season, and achieving in each an unqualified
success."
After the customary summer hiatus,
Joe was back in New York in another Jacob Litt
production. This time the vehicle was The Ghetto,
a Dutch play that had enjoyed a run of 300
performances in Amsterdam. Litt’s New York
production was a moderate success at the Broadway
Theatre. Joe played Raphael, a young Jew whose
marriage to a Christian girl disrupted his
relationship with his orthodox father. It should be
noted that Joe was now 45 years old and still able
to successfully play juvenile roles. Although
theatrical convention at the time allowed this, and
Joe’s effects were aided by hair pieces, make-up,
and a bit of corseting, it is still to his credit
that he was able to pull it off so well.
On Saturday, September 15, 1899,
William Winter wrote in the New York Herald:
"Whatever defects there are in The Ghetto,
and they are not lacking, it works up to a stirring
climax at the end of the third act. The scene is
well developed, gathers up all the threads of the
story, and holds them at one point as a climax
should. Rebecca, Aaron’s daughter, who loves Raphael
and is mad with jealousy because she suspects his
passion for Rosa, the Christian serving maid in his
father’s house, has cried out her suspicions to the
Ghetto. Its enraged denizens pursue Raphael to the
steps of the synagogue, where, at bay, he, in
mockery of the dowry that goes with Rebecca, puts up
his heart at auction. At last Rosa, pushing her way
through the surging crowd, brings him her love ---
heart for heart, soul for soul --- and he, seizing
her in his arms, exultingly faces the mob.
"Joseph Haworth, who acted
Raphael, the hero of the story, made a telling
effect of this climax, and after the curtain fell
the audience ‘let itself go’ in a fashion that is
new to Broadway houses, for above the applause there
were shrill whistles from the gallery."
Joe was able to reach the audience
with his power and humanity, even in midst of a
massive Broadway spectacle. In an era where
commercial theatre had reached cinematic
proportions, he was a precious commodity. When
The Ghetto closed, Joe left for Chicago to begin
rehearsals for another epic play that would prove to
be the greatest success of his career. On December
12, 1899, the New York Times reported:
"The dramatic version of Henry
Sienckiewicz’s Quo Vadis received its initial
production at McVicker’s Theatre this evening.
Monday night was originally set for the performance,
but the elaborateness of the staging demanded
further rehearsal, and the play was postponed until
to-night.
"The dramatization is by
Stanislaus Stange and follows the main incidents of
the book closely. The scenery, by D. Frank Dodge of
New York, received a large share of the applause.
"Quo Vadis is presented in
six acts and eight scenes, some of the latter,
particularly the banquet scene in Nero’s palace and
the panorama of the burning of Rome, being
especially realistic in design and gorgeous in
coloring. The cast in part as follows:
"Vinicius, Joseph Haworth;
Petronius, Arthur Forrest; Nero, Edmund Lyons; Ursus,
Elmer Grandin; Lygia, Roselle Knott; Eunice, Maude
Fealy. The play held the interest of the audience
from the start, and there were numerous curtain
calls.
"The incidental music was composed
by Julian Edwards, the choral numbers and dances in
accord with the period which Quo Vadis
covers.
"The advance sale of tickets broke
the record at McVickers."
After engagements in Chicago, St.
Louis, Washington, and other cities, Quo Vadis
opened at the New York Theatre on April 9,1900, but
under unusual circumstances. A rival adaptation
premiered at the Herald Square Theatre on the very
same night. Critics and audiences preferred Joe’s
production. The April 14, 1900 New York Dramatic
Mirror stated: "Joseph Haworth, of course, made a
splendidly picturesque, finely oratorical Vinicius
and acted with his ever admirable force and spirit."
As Quo Vadis settled in for a long run,
images of Joe as Vinicius flooded New York. A
special edition of the novel was published featuring
photographs of the production. The faithful saw Joe
as an embodiment of New Testament virtue, and he
gave interviews reinforcing this image. However, as
the weeks went on Joe began to feel his customary
restlessness. He could play Hamlet or Macbeth ad
infinitum, but after a certain number of repetitions
in popular melodrama, he wanted out.
In May, management asked the
Quo Vadis acting company to agree to a 10% pay
reduction, in order the finance the air conditioning
of the theatre during an extended summer’s run.
Nearly all of the company agreed to this, but Joe
refused and handed in his notice. At the same time,
he gave a press release stating that he was entering
vaudeville on the Proctor circuit. At this time,
many legitimate actors were making the move to
vaudeville, and were getting paid generously to
perform in one act plays. However, by the end of the
month, the dispute was resolved with Joe retaining
his guaranteed salary and continuing with the
production through the end of the season. Clearly
Joe knew his own value, and would not be cheated or
exploited.
In 1901 while still in his teens,
future Hollywood character player James Gleason
spotted Joseph Haworth on the street in Times
Square. Gleason excitedly pointed Joe out to his
very Catholic actor father, who grunted: "Stay away
from him. He’s a drunk and a womanizer." If this was
typical of Joe’s reputation among fellow
professionals, it didn’t at all extend to the
general public. Following his successes in The
Christian and Quo Vadis, Joe was regarded
as a public exemplar of faith. Typical was the
following extract from a letter sent by the Rev.
Henry Frank of New York in which he extols Joe’s
work in Quo Vadis:
"I doubt whether any sermon ever
preached, or in the most intense revivalistic
services ever enacted, have so charmed, uplifted and
spiritually awakened an audience as did your
pathetic description of the meeting of the
Christians. As for myself, it held me spellbound and
caused me for a time to feel that, instead of being
at the theatre, I was listening to the hallowed
strains of religious melody. I do not believe that
the stage possesses another man that could play your
part more effectively, insomuch as you combine
intelligence with profound religious emotion.
"You display the sweet sincerity
of religious earnestness without any of the gloom of
pessimism, which so often attaches to it. I had seen
you often before, but I do not recall any
performance in which you seemed to be so perfectly
adapted to the part, and in which you have drawn a
character apparently so well stamped with your own
personality."
The likelihood is that despite his
promiscuity and bouts with alcoholism, Joe did have
a deep religious faith. An Irish Catholic single
mother raised him. When his brother William married,
his bride Sarah Graham had to convert to Catholicism
under the tutelage of the Paulist Fathers. But Joe
never married. The American Biographical Dictionary
stated that Joe had an "unrequited attachment" to
Effie Ellsler, his first Ophelia. Whether Miss
Ellsler was the only love of his life or not, Joe
remained a life-long bachelor with a strong
heterosexual libido. Perhaps his attributed fits of
depression were the result of religious guilt over
sins of the flesh. Whatever was the true state of
Joe’s conscience, at Quo Vadis’ first
Saturday matinee in June, autographed likenesses of
him as Vinicius were handed out as though they were
holy pictures.
Joe spent the fall of 1900 touring
in a vehicle written especially for him. Adapted
from Longfellow’s "Tales from a Wayside Inn,"
Robert of Sicily recounted the story of a
powerful king who took exception to the Magnificat’s
words: "Deposuit potentes de sede, et exaltavit
humiles;"("He has put down the mighty from their
seat, and has exalted them of low degree.") King
Robert responded:
"’T is well that such seditious
words are sung
Only by priests and in the Latin
tongue:
For unto priests and people be it
known,
There is no power can push me from
my throne."
Longfellow’s story had God demote
the king to an ape-leading jester in his own court,
with a heaven-sent angel in his place on the throne.
Grace Livingstone Furniss wrote a spectacular
adaptation that showed King Robert’s two-year
journey of humiliation and self-discovery. At the
climactic moment, Joe quoted Longfellow’s words:
"My sins as scarlet are; let me go
hence
And in some cloister’s school of
penitence,
Across those stones, that pave the
way to heaven,
Walk barefoot, till my guilty soul
be shriven."
The play had all the elements of a
Joseph Haworth vehicle: language, epic structure,
period settings, and a plot of sin and redemption.
It opened in Worcester, Mass. on November 29, 1900.
Audiences responded to Joe’s work with typical
enthusiasm. Reports of its success immediately
appeared in the New York press, and producer Alfred
Aarons announced a Broadway engagement for the play.
On January 26, 1901, the New York Times reported
that Robert of Sicily would open at the
Herald Square Theatre on March 4. But three weeks
later, the deal fell through and the New York run
was cancelled. Joe’s disappointment was profound. He
had put his heart, soul, and personal fortune into
the play, and would continue to try to get it
produced in the years to come. Just as King Robert
tumbled temporarily from his lofty throne, the
vicissitudes of commercial theatre had brought Joe
momentarily low.
In the fall of 1901 Joe’s spirits
got a huge boost when he returned to San Francisco
to star with the Grand Opera House stock company. He
was held over week after week, playing Richelieu,
Quo Vadis, The Merchant of Venice,
Hamlet, Rosedale, and William Haworth’s
adaptation of Dr. Jeykll and Mr. Hyde. Of his
Hamlet, the San Francisco Call wrote: "It was fresh,
vigorous, human, giving plain reflection of the
motives underlying every word and deed of the
melancholy Prince. By readings as clear as a
cloudless sky it plucked the mystery out of the
passages which the students variously interpret.
However daft the Dane may have seemed to Polonius or
Gertrude, he was as sane and plain to his audience
as an open volume."
The year 1902 began with efforts
to bring another starring vehicle to Broadway. The
play was Coriathon, based on a tragic story
found in the book of Mormon. It was written by
Arestes U. Bean, a son of George Bean, who was
Indian interpreter for Brigham Young. Wealthy Mormon
capitalists backed the enterprise, although the play
was in no sense propaganda. Set in South America
seventy-five years before Christ, it told of the
Aztec Prophet Amla’s chastisement of his wicked son
Coriathon over his infatuation for the scarlet woman
Zoan-ze-Isabel. Because of Joe’s involvement,
theatrical managers throughout the country were
interested in the production. It played to huge
business in Salt Lake City in August. Joe was a
member of the Elks, and a national convention
coincided with the play’s premiere. Subsequently
however, a scandal involving Utah’s Senator Smoot
caused ministers to rail from the pulpit against
anything Mormon, and Coriathon was dropped
like a hot potato.
Joe’s career was approaching a
crisis. He had no vehicle for the 1902 season. He
ran ads in trade publications seeking management,
and sought work by telegram and mail. On November
23, from his home in Cleveland, Joe wrote New York
manager A. M. Palmer:
"I would like to see you this week
as I am off for a few weeks and I am anxious to see
Mr. Mansfield play Brutus. I asked Gregory to
present my name for Cassius at first production but
we were doing so well with Coriathon the
Mormon drama that I thought I was all right. Now
that the "Smoot" matter is up before the nation
(Senator from Utah) and ecclesiastics are all up in
arms against anything Mormon, although the play is
as thoroughly Christian as Quo Vadis, Ben
Hur, or The Christian – I have written
Mr. Mansfield. I thought he might send a
Mansfield production of Caesar out
with me. He seems to be the only artist who has the
sand to do the works of the master. I am
looking for a manager – something I have never had
yet. I have always been successful in the classic
drama but always lacked management. A year ago I
played Richelieu, Quo Vadis - Shylock
– Hamlet and Jekyll Hyde and Rosedale
in San Francisco and the press was universally
enthusiastic. I played six weeks. I like that work
and think I excel in it – Hope I may see and talk
with Mr. Mansfield and yourself. I am building a new
country home in Willoughby just for your company –
unless something more whole some offers."
The "Mr. Mansfield" Joe referred
to was Richard Mansfield, then the biggest male star
in America. Mansfield was on tour in a spectacular
revival of Julius Caesar, preparing for a New
York opening in December 1902. Mansfield was
undertaking the part of Brutus, and it was a
challenge for him. Basically a tricky and theatrical
actor who dazzled audiences with his virtuosity,
Mansfield was struggling to find the thoughtful and
internal Brutus. When he heard of Joe’s interest and
availability, he fired the actor playing Cassius and
engaged Joe to assume the role. Literally over
night, Joe joined the company and played the newly
opened Colonial Theatre in Boston. Joe’s presence
uplifted the whole production, and the famous "tent"
scene quarrel between Brutus and Cassius became the
highlight of the evening. Mansfield spent most of
the tent scene sitting in the dark, while Joe’s
Cassius held forth with astonishing energy and
intensity. Mansfield finally took stage with an
enormous vocal blast on the line "Away, slight man!"
The critics didn’t unanimously agree that it was in
Brutus’ character, but agreed that it was
Mansfield’s best moment in the production.
Julius Caesar
opened at the Herald Square Theatre on December 1,
1902. The press reception was generally favorable,
with great praise going to the spectacular
production. Mansfield’s reviews were mixed. In the
New York Herald William Winter wrote: "His
conception of the character of Brutus – that he was
a man half crazed by brooding over the growing power
of Caesar and the increasing danger therefore to the
republic – perhaps explains to some extent his
exaggeration of gesture and the startling ghastly
"make up’ of his face…Mr. Mansfield is first and
foremost a character actor. To bring out and show
the full advantage all that is in him, the role he
enacts must have in it something of eccentricity,
something outré, something outward, as well as
inward, that differentiates, that sets it apart from
the ordinary mortal."
Of Joe’s performance Winter wrote:
"Mr. Joseph Haworth as Cassius fully realized the
‘lean and hungry’ plotter whom Caesar feared. His
part in the quarrel scene was splendidly played."
The January 1903 issue of Theatre Magazine went
further: "Joseph Haworth’s Cassius was a notable
performance. The attributes of this fine character –
nobility of purpose, dauntless courage, iron will,
tremendous vitality – Mr. Haworth was an embodiment
of them all. The impassioned fervor of his speech
and action, his splendid diction, added to a fine
classical physique, made up an impression that will
dwell in the memory."
Julius Caesar
ran fifty performances at the Herald Square Theatre.
The production set a never-bettered record for the
play on Broadway, and brought Joe back with a bang.
Popular opinion was that his superior classical
technique made Cassius the central character of the
play, for all of Mansfield’s bag of tricks.
Ordinarily a snobbish player who looked down on his
fellow actors, Mansfield held Joe in great esteem
and treated him with the deference due a fellow
star. He was most anxious for Joe to remain in the
company when it resumed touring. But Joe left the
production following its Broadway closing, in order
to take on the role of a lifetime.
When Count Leo Tolstoy wrote his
novel Resurrection, he gave it to the world,
reserving no copyright. It was therefore dramatized
in many different versions and countries. The only
authorized adaptation was by Henri Bataille in
Paris. In January 1903, Oscar Hammerstein I
announced that he was going to produce Michael
Morton’s English translation of the Bataille
adaptation at the Victoria Theatre. Blanche Walsh
and Joseph Haworth were announced for the leading
roles of Katusha Maslova and Prince Dimitri
Neckhludoff. The role of Prince Dimitri afforded Joe
the opportunity to express the full breadth of his
talent and to act in the naturalistic style of the
Moscow Art Theatre, where Resurrection first
played.
There were forty-nine speaking
parts in the production, but the characters of
Dimitri and Maslova alone ran through the entire
action, the other characters passing behind the two
leading roles like a psychological panorama. The
play told of young Prince Dimitri’s impetuous
seduction of a serving girl before leaving for
military service. Tolstoy’s plot had their paths
cross again in a courtroom years later, with Dimitri
a juror and the girl, now a prostitute, accused of
murder. The action then focused on Dimitri’s efforts
to redeem her life, and thus atone. Joe was able to
play the charming but irresponsible youth in the
first part of the play, and then show the
character’s growth into mature regret and
accountability. As Maslova, Blanche Walsh went from
ingenuous innocence to a harrowing portrait of
abandoned and wretched humanity.
In the February 18, 1903 New York
Herald, William Winter wrote: "In all these scenes
Miss Walsh or Mr. Haworth was the dominating figure.
They had much to do and they did it well. Mr.
Haworth was effective alike in his utterance and in
his reticence. He expressed strong emotion without
contortions.
"The scene in the jury room, after
the verdict had been rendered, was especially moving
and true to nature. It was a fine presentation of a
robust nature shaken to the depths by sorrow, shame
and remorse, but preserving masculine mastery over
its expression." A separate review in the same paper
stated: "Joseph Haworth’s interpretation of Prince
Dimitri marks him as a great actor."
Of his opening night performance,
News of the Theatres wrote: "As Prince Dimitri, he
swept all before him and gave one of the few very
great performances of the year. His magnificent work
that night – and old stagers who had watched his
work for a quarter of a century said that he had
surpassed himself – was a resurrection in more
senses than one. It made New York playgoers realize
for one thing how rarely nowadays a great actor is
heard or seen."
After an eighty-eight-performance
run, Resurrection closed on April 30, 1903. A
fall tour and a return New York engagement were in
the works as Joe went home to Willoughby for his
summer’s rest. In mid-August, he traveled with his
sister Kate to Crestline to spend the week with his
brother William. Returning on Sunday August 28,
1903, he fell ill and was unable to reach his home
two miles away. He was taken to the Kingsley Hotel
in Willoughby and confined to bed. At 7:00 pm, a
carriage was ordered to take him home but he was too
weak to leave his bed. An hour later, his sister
Kate came into his room to check on him, and found
that he had died. Joe was gone at the age of
forty-eight.
His passing was front-page news
across the country. His death was attributed to
heart failure from over-exertion. Joe was mourned
and widely eulogized. The Boston Herald said in
part: "As it was he grasped every opportunity to
appear in the classic drama, and it is not too much
to say that he was successful in every classic role
that he undertook. He was a man of unusually broad
mental attainments, a master of the mechanics of
acting, and in temperament a thorough artist. By his
death the stage loses a disciple that can be ill
spared."
But perhaps, William Winter said
most simply and succinctly: "Haworth, who had been
taught by McCullough, possessed rare ability,
pursued his art with ceaseless, glowing fervor,
accomplished much, but died in the morning of his
fame."